Charles Amirkhanian and Brian Eno discuss Phonetic Poetry, how Brian writes his lyrics, and the spirit of inquisitiveness at KPFA Radio on Saturday February 2, 1980. Listen to some of Brian Enos pieces; After the Heat, Everything Merges With the Night, Another Green World, Spirits Drifting and sections of other pieces. Brian Eno also discusses the artist Peter Schmidt and their work on the Oblique Strategies Cards, being a producer, Process vs Product and looping. Reel I ends with some thoughts on Steve Reich and his music.
Reel II starts with the history of the recording studio as a compositional tool;" and collaboration with David Byrne on album My Life in the Bush of Ghosts. Eno also talks about and listens to Elvis, The Supremes, Sly Stone, Lee Perry and Jimmy Hendrix. Then he offers some unfinished pieces from his upcoming album with David Byrne.
All Other Minds programs available at http://www.radiOM.org.
August 20, 2010 Subject:
Fascinating to hear Eno discuss the evolution of the studio not just as a recording but as a compositional device. Also interesting to hear him make connections between the visual and audio art worlds of the sixties & seventies. Judging from this show it sounds like Eno prefers to collaborate at a distance (I don't get the feeling that he & Byrne were ever in the same room when making Bush of Ghosts). I also get the feeling that Eno, being the master of the synthetic environment that he is, does not really value live performance. Would be very interesting to hear him discuss the evolution of his attitude toward live performance w/ Roxy Music, 801, etc... Also would be interesting to hear him discuss whether the rise of the age of the producer & the studio-generated sound (that he helped bring about) has meant the decline of musicianship & of music as a communal activity not only in the west but in many of the nonwestern cultures that he so admires.
October 30, 2009 Subject:
this is great Life in the bush of ghosts
September 24, 2006 Subject:
Before his peak?
I don't intend this as a criticism of the above reviewer. I just can't allow to stand a remark that Eno peaked after 1980. He has always stretched the limits of his own creativity, a period which began long before 1980. To be sure, commercial bands like U2 might have fizzled out without Eno's contribution, but are we to completely dismiss earlier experiments? I don't think so.
July 3, 2006 Subject:
Great show shame about the format
It's good to see an easy to use audio player here. But surely the quality has suffered. The Eno interview is noticably slower, which, when you consider that this is dealing with sonic arts, is just wrong.
It is unfortunate that you have chosen to remove the higher resolution, downloadable versions of Other Minds Archive. I hope this is only temporary and that others will be allowed the benefit of higher quality audio and the playback mechinism of their choice.
April 17, 2006 Subject:
Very interesting discussion about music and art, processes and studio techniques. Well worth a listen.
June 29, 2004 Subject:
Eno just before his peak
A snapshot in time. This interview covers the Eno/Byrne collaboration, "My Life in the Bush of Ghosts". "Another Green World",
"Tiger Mountain" were done and U2 was still a local bar band in Belfast. There is a great sense of potential energy aching for release.
The use of the music studio as an instrument,
as an orchestra, as a symphony - this is his primary topic.
(Off the topic, but while I have your attention)
IMHO, "Spinning Away" works as layered composition, touching lyric, and for the past few years, bedtime lullaby for my kids. The artist, sketching a sunset, darkening as his 'pencil changes moments into lines', sees his task from the cosmic point of view, 'as the great wheel of the planet spirals in'.
The best of the Eno/Cale collaboration (although their 'creative differences' had spun out of control by then, according to Cale's autobiography).
December 15, 2003 Subject:
Refreshingly Not Full of Himself
I've always enjoyed Eno's music and reading various interviews (in particular, the one in Wired a number of years back) but I'd never actually heard him in a live interview. In this recording he's calm, well spoken, self-effacing and very interesting--in a way, I suppose like his music. A wide variety of sounds are played throughout the program, the kind of eclectic musical queue you'd expect from Eno.